Creating Your Own Niche: Developing Your Own Sub Genre

When I wrote about the opportunities and pitfalls of writing genre fiction last week, I suggested that we as independent authors have the chance to distinguish ourselves by pushing the boundaries of our chosen genre. (See Genre Conventions, Clichés and Evolution) Now, I'd like to focus on the specific I work with to help illustrate this idea.

Genre Combinations

It’s common in modern fiction for stories to blend more than one genre together. The tension or interaction between the different conventions gives the narrative a particular flavor that can work very well. Historical romance, military science fiction and dystopian YA have been and continue to be popular combinations.

I combine crime thrillers and spy fiction into a sub-genre that I refer to as criminal espionage. The connection between the two base overlaps to the point of almost being seamless. Intelligence officers often deal with smugglers, assassins, thieves and other criminal elements to carry out their missions. Espionage itself is often defined as breaking the laws of a foreign government to acquire information. Many of the major historical events that revolve around spies including Watergate, the Iran Contra Affair, and even Madame Butterfly also have a distinct criminal component.

The Why and the How

So if there is a basic link between crime fiction and spy fiction, what makes mine unique? The two aspects that I try to focus on are process and motivation.

Motivation: Unlike the standard spy fiction tropes, my stories are not about terrorists trying to kill the President, finding secret nuclear facilities or recovering the list of every undercover agent that always happens to be lying around waiting for someone to steal. (See How to Write Spy Fiction) The goals of my characters are much more sordid. They're driven by things like greed, lust, revenge and hate. Of course these negative drives find their way into spy thrillers of all types, but in my work they are not subsumed by concepts of avoiding war or saving the world. I feel the scope and reach of their actions and consequences is much closer to the reader's perspective. Hopefully that makes the characters and the story easier to relate to.

Process: Unlike a lot of crime fiction that I've read, my characters commit their crimes with the skills and tactics normally reserved for elite spies and Special Forces. My criminals are not desperate degenerates. They are skilled specialists. They don't rush blindly into an action. They study, evaluate, prepare and execute their operations with precision. They plan for not only the violent action but the legal, medical and social consequences of their actions. There are many real and imagined criminals that approach their craft with the same rigor. By combining high training with low motives, I try to capture a flavor in my work that will set me apart from other thriller writers.

Pioneers of the Craft

While I may or may not have coined the term criminal espionage, I certainly did not come up with the idea first. There is a significant body of work in this subgenre that spans across several types of media including:

• Books: 100 Bullets, A Lonely Resurrection, Thick as Thieves, The Killer, Silence and Co.
• Film: The American, Bad Company, Driver, The Professional, The Usual Suspects, Way of the Gun
• Television: Burn Notice, Leverage
• Video games: Hitman, Watch Dogs, Sleeping Dogs

All these stories provide more than just inspiration. They provide a road map that other criminal espionage writers can follow by introducing the concepts that can become conventions over time.

Your Turn

So what subgenre are you working in? What major works define your space and what have you learned from them? How do you make your work stand apart? Please leave a comment and let me know. We can all learn something by both finding our own space and watching others build their own genres too.

Have fun.

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What the Critics Are Saying About Smooth Operator

I am pleased to report that the critical and public response to my first novel has been very positive so far.

• Smooth Operator reached #1 on the Hot New Releases for Espionage (if only for a day) and remains in the top five at the time of this post.
• The average rating for the book is 4.5 out of five stars (although I get the feeling that two of the reviewers never actually read the book- See Life, Death and Sock Puppets).
• The reviews themselves are insightful and comprehensive (and I’m not just saying that because they are good reviews).
• Several months ago I offered my perspective on dealing with a bad review. This time I’d just like to post the good review that I received from E.P. Scott and let that speak for itself.

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This was an ARC given to me by the author in exchange for an honest review.

Smooth Operator is a treasury of seven artfully written short stories, masterfully connected by a common thread: Warren Baker. The result is a thrilling, exotic novel packed with intrigue, action, deceit, sensuality and, in the words of the enigmatic Warren Baker - "relationships based on mutual exploitation."

Smooth Operator's first story (Of Mice and Men) is an interview, an introduction of sorts. The narrator in this first segment, a writer, is hoping to produce the next bestseller, and Warren Baker is his target for information, his muse of a fashion. As the conversation continues, Warren Baker begins the game, as he describes his methodology for acquiring his assets and operatives. Money, Ideology, Coercion, and Excitement (MICE)...Warren Baker's rules of engagement, so to speak. Find their motivator; dangle it in their face and the rest takes care of itself.

The next story (Asset Management), took me into the corporate offices of RSVP, a private intelligence firm. As Warren Baker takes his new boss, Rose Mendoza, who is just itching to fire him, along for the interviews that might result in the successful acquisition of a much sought after operative, I was plunged into the story of Ria Marlen; tormented, angry and ready to inflict her own variety of punishment on sexual predators. This dark, twisted story is exciting, quick, engaging and had a climactic ending that left me with a smile on my face and an `I sure didn't see that coming' as I closed out this second installment.

The third story (Family Affair) begins with a gang initiation that goes all wrong and ends with Harrison Trent, a freelance consultant with a unique skill set, ripping up New York's Lower East Side. A Family Affair is about manipulation, seduction, and exploitation, but it was also painfully gut wrenching, as I was swept along with Trent as he deals with his personal demons. The subject matter deals with gangs, misguided loyalty, what it means to be a family (blood or not) and the pain family can inflict (intentionally or not). The plot is fast but smooth; the characters are realistic, tough, resilient, and heartbreakingly lonely. The action is fantastic and the sex, highly erotic! And, for the second time, the ending is a head-shaking revelation that made me chuckle at the same time as I once again muttered to myself, "didn't see that coming...totally didn't see that coming". The writer effortlessly moves from one scene to the next, connecting the dots along the way, helping us learn as Trent and Baker learn. The planning of the insertion, execution and extraction were so believable, so captivating, I wouldn't be surprised if the author had personal experiences to draw from or, perhaps, has a military background. Harrison Trent is by far my favorite and Family Affair is my choice for best in show.

The fourth installment (Broken Glass) has a few interesting elements and plot twists: a corporate executive is passed over for a job, the slimy new boss is looking for his next piece of tail, a drunk woman is headed for serious trouble, and a man, driven by hatred and desire gets swept into the fallout by making the mistake of thinking that the events and people were mutually exclusive. At the end, just when you think it's the end, along comes another twist that was very well written. The underlying theme; it doesn't matter who gets screwed over, just as long as you get what you want.

As the rollercoaster comes out of the fourth loop-de-loop (Dead on Arrival) introduces us to Hamilton Chu; a resourceful, capable operative. Motivator: money. Unique Skill: "Executes" his missions with exact precision. A quick grab and deliver, that was all it was supposed to be and Chu would have some nice pocket change to spend on his boyfriend. He retrieves his target, delivers him, but in a twist of circumstances, the delivery isn't what anyone expected, especially Chu. He finds himself in the wrong place at the wrong. To delve further into this shorter of the group of stories would ruin it, but trust me when I say that Chu will impress you. The fight scenes were skillfully written and Warren Baker comes to his rescue, performs his magic and keeps his operative safe.

As a sidebar, at this point in the novel, I have to admit that I'm somewhat confused by my feelings towards the character of Warren Baker, as he tells his stories. I find my attraction for him reaching a level of tension that is pulling me in all directions. If he were real, he would be the type of man that an intelligent woman knows to stay away from and yet is unquestionably drawn to.

So, with that being said and my head spinning with all the intrigue and mystery I tried to catch my breath and slow my heartbeats to dull roar before plunging headlong into Ria Marlen's twisted world (Date with a Devil) only this time Warren Baker is meeting her face to face. This story was tense, contained close quarter's combat (of a fashion), a cat and mouse kind of introduction for the characters and a sensuality that had my heart thumping in my chest, again, and my imagination working overtime. Warren Baker is definitely a man that an intelligent woman should keep her distance from...*sigh*....anyhoo.

The seventh story (A Taste of Honey) is about Chris and Nikki. He's an operator and she's an asset. Theirs is a quirky relationship to say the least and Nikki's emotions may be blocking her common sense. Will she allow him to continue to exploit her, then make love to her and exploit her some more? This story and the novel, ends with one hell of a cliff-hanger that left me blinking at the screen wanting more.

In closing, Smooth Operator is an exploration of the lives of the operatives; present, future and questionable, of RSVP through the eyes of Warren Baker. The writing is superb, the plots and characters credible, the action and thrill intense and the sex and sensuality highly erotic without being pornographic. As I wrote my review, checked the stories to make sure my facts were straight, I found that each one sucked me back in for a pleasurable, second read. If a book is written in such a fashion that the stories become that engaging; to make me want to read it again, it automatically gets 5-stars. And truth be told? I'll probably read this novel a few more times.

Thank you, to the author, for giving me a glimpse into the intriguing lives of these wonderful characters.

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Smooth Operator isn't a bestseller by any stretch of the imagination (See Great Expectations) but it is off to a good start. I only hope other readers feel as good about the book as Ms. Scott.

Have fun.

Gamal

Of Mice and Men: A Free Preview of Smooth Operator

Read the full preview here

An Interview with Warren Baker

I met him at Norwood on a Tuesday night. I normally can’t get into a place like that on any night. It’s one of the few private clubs left in the city, and I’m not a member. I don’t have five thousand dollars to spend on a club membership, and even if I did, I don’t have the personal references to open up doors like that. Baker clearly had both of those resources. My name was on the list as his guest, so I went to the elevator quickly, before the frosty but polite hostess changed her mind about me and told the gigantic doorman to kick me out.

Norwood isn’t really the type of place you think of when someone says “club.” There is no disco ball or smoke machine. There is no massive sound system that will make your ears bleed if you stand too close. Norwood feels much more like the British clubs that the characters in an Oscar Wilde story were always flitting in and out of. When I got out of the elevator, I had to move around small clusters of European artists flirting with each other over wine. I roamed over ornate carpets that swallowed the conversations around me and passed under low chandeliers that cast more shadows than light, before I found him sitting alone.

He was nestled in a high-backed leather chair, cradling a neat glass of what looked like whiskey. He had both legs stuck out in front of him and crossed at the ankles. His dark wood cane rested at his elbow. He glanced out the window at the passing buses on Fourteenth Street as I approached. That’s when I knew he saw me come into the club. He probably saw me in the reflection of the glass as I entered the room. Warren Baker may have been relaxed, but he was still very much aware.

“You’re late,” he observed as I sat down in a chair opposite his.

“No, I’m not. You said meet you here at ten. Its nine fifty-five now. I’m early.”

“Early for the masses, late for a professional” Baker looked at me with a mischievous grin as he went for a sip of his drink. “You got here just in time to meet me, but you don’t know anything about this place or the surrounding area. You have no idea where the viable exits are, and if something goes sideways tonight, you will be very properly fucked.”

I shrugged. “True, but I’m not a professional spy. I’m a writer. All that tradecraft shit is your job, not mine.” A bright, cheery waitress with a practiced smile came to take my order, ignoring the empty chair opposite me.

Baker admired the girl’s shape as she sauntered away. “They say writers should write about what they know. How are you going to write about people like me if you don’t know anything about the way we think or how we live?”

“That’s why I’m here, isn’t it? You give me some insight into the shadows, and I’ll pay for the drinks. It seems like a pretty fair trade to me.”

Baker snorted as he knocked back the last of the whiskey. “I’m glad you think so. This stuff is seventy-five dollars a glass, and I’m going to need a few of them to tell a proper story.”

I felt my eyes roll in my head. “Then we better get started.” The waitress returned for a moment and then left me alone with my drink.

“Fine,” he said, sitting back in the leather chair as if he planned to be there for a while. “What do you want to know?”

“Why don’t we start with you explaining what the fuck you’re up to?”

Read the full preview here

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The full version of Smooth Operator goes on sale August 7^th in Kindle and paperback versions.

Amazon Prime members are eligible to download the book for free from August 7^th to August 11^th.

Until then,

Have fun.

Gamal Hennessy

A New Novel from Gamal Hennessy Called Smooth Operator Goes on Sale July 31st

He knows what you want…

Born into privilege, wounded by war, and skilled in the art of manipulation, Warren Baker works like a spider. He weaves plans and plots, drawing people into his web until they accomplish his goals without ever knowing he was involved.

In some cases, his influence is as delicate as a woman's smile. In others, he is a blunt instrument ruthlessly pursuing his goals. All the stories reveal insights into this complicated man and his mysterious quest for power.

Smooth Operator is ultimately about our desires, and how they define us. From ambition to passion, from blood lust to vengeance, our motivations do more than shape what we are willing to do; they reveal who we are as people. 

When you are faced with a critical life choice, what you are capable of?

The Kindle version of Smooth Operator will be FREE to Amazon Prime members beginning on July 31st, 2013. The sale price for the Kindle version is $2.99. The sale price for the paperback version is $4.99.

Everyone who reviews Smooth Operator on the Amazon Page is eligible for a FREE GIFT! Details are coming soon.

Have fun.

Gamal

Like a Spy to Honey: Sexual Seduction in Real and Fictional Espionage

A story is making the news this week about a US military contractor who is accused of passing nuclear weapons secrets to his Chinese girlfriend. This story is the latest episode in one of the most subtle and successful kinds of operations; the honey trap. But while this type of spy tale is titillating, it does not get the attention it deserves in modern espionage thrillers.

When Truth is Stranger than Fiction

In espionage parlance, a honey trap (or a honey pot) is the use of sexual seduction to recruit agents, either through blackmail or emotional manipulation. The use of honey traps can be traced back to ancient civilizations. Cleopatra’s seduction of Julius Cesar and later Mark Anthony to improve diplomatic relations between Egypt and Rome is one of the early honey traps. Casanova also used his seductive skills as a spy (as well as for general recreation).

Modern honey traps are also well documented. Dozens of military and diplomatic officers including Clayton Lonetree, Sharon Scranage and James Smith gave up secrets to their honey traps. One of the more bizarre cases occurred when a male Chinese opera singer named Shi Pei Pu pretended to be a woman, seduced a French diplomat and convinced him that “she” was pregnant to entrap him. This might be the most famous honey trap story of all because it was fictionalized into the play M. Butterfly.

A Bit of Honey

Honey traps have had a mostly minor role in spy fiction. Vesper Lynd is recruited by a male honey trap in Casino Royale. Nikita sometimes acts as a honey trap in La Femme Nikita. A honey trap poses as a prostitute to kill one of the assassins in Munich. The Fiona character in Burn Notice and her historical counterpart Cinnamon Carter in Mission Impossible act as short term honey traps in their respective teams. Most recently, Barry Eisler has shined the spotlight on his own honey trap, Delilah, in the novella London Twist. In the vast majority of espionage fiction, the honey traps act as love interests for the protagonist, rarely getting their own time in the sun.

A Taste of Honey

The book I’m currently writing is about a honey trap forced to spy on her lover. I’m creating a unique story, in part, because I am making the sexual seducer the protagonist. I’m exploring the motivations, struggles and choices that come with the use of sexuality as a tool of deception. The seduction in A Taste of Honey hasn’t been thrown in just for the sake of putting sex in a story. It is a way of exploring the true nature of the characters and the world they live in.

Human intelligence experts often refer to money, ideology, coercion and excitement (MICE) as the key motivators to recruitment. Sex is one of the most basic forms of excitement that we have and a powerful form of recruitment. There are plenty of examples of honey pots in fiction, but they are dwarfed by the number of assassins, rouge CIA agents and Delta Force heroes. I have nothing against assassins. Hell, some of my favorite characters are assassins. I just think the genre could use a bit more honey, and I plan to provide it.

Have fun.

Gamal

Sex as a Window to the Soul: Using Sexual Expression to Reveal True Nature

“Sexual energy can have many transformations: at the lowest it is biological; at the highest it is spiritual. It has to be understood that all creative people are highly sexual." Osho

There are many ways a writer can show the true nature of their characters. By placing them in conflict with their world at various levels and forcing them to make choices, the fundamental essence of the character is revealed. In thrillers, lives are at stake. In mysteries, justice often hangs in the balance. Every genre of fiction has its conflict conventions, but sexual expression is an unused goldmine for the revelation of character, especially in spy fiction.

Sex for Characterization

Last month, I discussed the difference between characterizations and true nature in fiction writing. In short, characterizations are the definable qualities of a person and their true nature is the choices they make under pressure. As a vehicle of characterization, sex is used all the time. The male hero falls for the femme fatale. Now we know some characteristics of both of them. The man is heterosexual and sexually active. The woman is on some level attractive. This basic idea can be expanded indefinitely. The unquenchable sexual appetite of James Bond, for instance, is as much a part of his character as his nationality. But even this high profile sexual expression doesn’t speak to the true nature of the character.

Sex for True Nature

If sexual expression is going to be used to reveal true nature, then the sexual choices that a character makes need to be explored. There are a variety of questions that can be asked to further this goal:

• Who are they sexual with? Are they alone? Are they with one person and not another? Why?  
• When are they sexual? Under what circumstances and at what point in the story does the event take place?
• Where are they sexual? Is there some risk based on the location or do they insist on total privacy and security?
• What sexual acts are they involved in? How vanilla or kinky are they? How simple or intricate are their thoughts or actions during the sexual encounter?
• Why are they taking this action? Is it the release of some emotion, if so, which emotion? Is the expression designed as a reward for someone or as a punishment for someone else, or both? Is it a celebration or a submission?
• How are they sexual? Is the character kind or cruel? Are they considerate or selfish? Are they experienced or naïve? Are they exploratory or conservative? Are they active or passive? This is perhaps the most important question when sexual expression is used to define true nature.

When you look at sexual expression from this perspective, the true nature of James Bond (at least the movie portrayals of him) is never revealed. We know he has a lot of sex. We know he is very eclectic in his sexual tastes, but beyond that, Mr. Bond is a mystery even after six decades of films.

So What?

Can we know a protagonist’s true nature without watching her in bed? Of course we can. Millions of fine books have been written over the years without it. So why should anyone want to put it in now? The answer boils down to creativity. In a time where everything has already been done and a fresh new idea is as rare as a winning lotto ticket, using sexual expression to gain insight into character and move the narrative is the road less traveled and could be the ripest avenue for exploration in modern fiction.

Sex in My Novel

I’m currently writing a novel called a Taste of Honey. It this story, sexual expression exposes both the characterizations and the true nature of all the main players. Instead of writing yet another novel about assassinations, bombings and hand to hand combat, I’m crafting a spy story that is more subtle in its execution. The stakes are still very high and the tension isn’t reduced because there are less bullets flying. I just decided to write a different type of spy novel. Hopefully the world will be ready to enjoy it.

Repression, Rejection and Titillation

There is a reason why more writers do not use sexual expression as a vehicle to reveal true nature. The stigma attached to sexual expression in America has a chilling effect that marginalizes sex to the fringes of pornography. There are few ‘legitimate’ writers who are in a position to take this bold step under their own name. Anais Nin and Henry Miller did it in their prose. Anne Rice did it with Sleeping Beauty and Barry Eisler has taken steps in that direction with his spy fiction. I’m going to follow them because these are the stories I want to tell and I don’t have anything to lose.

Sex for the sake of defining character is fine. Sex for pure titillation is great too. But I’d like to go in a different direction and see where it takes me. It might not make me rich, but it will definitely be interesting.

Have fun.
G

London Twist: A Book Review

When I decided to become an independent publisher, Barry Eisler was the one of the modern writers who inspired me most. I wanted to capture the lethal complexity of his characters and the world they live in. I strive to emulate the visceral depth that he brings to both his tactical descriptions and his combat scenes without parroting his style. London Twist marks both a slight departure from his established conventions and an expansion of his creativity that achieves very pleasant results.

Readers familiar with the John Rain series will recognize Rain's former lover and honey trap Delilah. It is her first solo operation that provides the catalyst for the new direction. But Mr. Eisler doesn't simply change the gender of his protagonist and continue on his merry way. In Twist, seduction replaces murder as the method of choice without sacrificing the tactical element that makes Mr. Eisler's writing so enjoyable. The seductive and erotic scenes are handled with just as much meticulous rigor as his previous combat descriptions and this time they come off as much less desperate and violent as his earlier sex scenes. Of course, the deception, paranoia and double crosses that consume the Rain series are on every page of this novella, but with London Twist, Mr. Eisler proves he can write about both sex and violence skillfully.

My upcoming spy novel also focuses on the consequences of combining intimacy and deception and once again, Barry Eisler has inspired me with his latest work. It is a short and sweet alternative to John Rain that you will enjoy if you appreciate the intelligent thriller.

Have fun.

Gamal

Django Unchained Is the Next Great American Spy Film

Much has been written and discussed about Quentin Tarantino's latest project. Django Unchained has garnered praise, criticism and awards as a race film, a western and a spaghetti western. But after seeing the movie last night, it is clear to me that Tarantino did something else. He successfully realizes all of the classic elements of a spy film in a uniquely American setting.

As I wrote in an earlier post (How to Write Spy Fiction), every spy story boils down to the secret struggle for a magic It. The plot of Django is easy to fit into the classic spy formula when it is looked at from this perspective. Without revealing any spoilers, consider the following milestones that occur in many spy stories and also happen in the film;

• The spy is recruited into his profession by an older, experienced mentor.
• He learns his trade and struggles with the morality of what he is doing as his skills improve.
• He engages in some form of deception to manipulate his opponent and get closer to his goal because his opponent has superior strength, numbers and society on his side.
• Some form of counterintelligence is used against him to reveal his plot.
• He is forced to engage in another spontaneous deception, surpassing his mentor to secure the Magic It.

All of these elements were defined and structured well in Django Unchained. They are difficult to see if you’re not looking for them because Tarantino uses a controversial setting and an atypical protagonist to tell his story. But this is just as much a good spy film as Argo, Skyfall or Zero Dark Thirty and should be appreciated in that vein.

It could be that Django is easier to define as a spaghetti western than a spy film. It might be more popular to focus on how many times the word nigger was used in the script or how graphically violent the film was. It wouldn’t be far-fetched to say that because I’m in the middle of writing a spy novel I see every movie or story in those terms. But none of that takes away from what Django reveals. By shining a light on America near the end of Slavery, Tarantino gives us a look at a struggle that was just as treacherous as the Cold War or the War on Terror. Not every spy story that deserves to be told concerns only the evils of the modern Middle East. Some stories can clearly be found in the systemic human trafficking of America’s own past.

Have fun.

G

The Secret Struggle for the Magic It (How to Write Spy Fiction)

According to Robert McKee’s excellent book on screenwriting, you can’t write in a particular genre until you understand the conventions and elements that it demands. This is one of the reasons that writers who strive to improve their craft benefit from reading the work of others who have mastered a specific genre.

In developing the script for my own novel, I also created my own understanding of the elements of the spy fiction genre. I’d like to share this concept here (along with pertinent examples where I can find them) in the hopes that it will help increase your appreciation of both the spy fiction specifically and the creation of genre fiction in general.

The Elements of Spy Fiction

Based on my exposure to classic and modern spy fiction, there are three fundamental elements that can be described simply as the secret struggle for the magic it. I’ll break down these concepts to make them more understandable:

1. The “Magic It”: There is a person, object or piece of information that drives the story. Whatever this “it” happens to be, it is so important that people are willing to kill and risk their lives for it. For example, in Skyfall the “magic it” starts off as a list of undercover agents (information). In Spy Game, the “magic it” is the spy held in the Chinese prison that is scheduled to be executed (person). In The Hunt for Red October, the “magic it” is a rouge nuclear submarine (very large object).
2. The Opposing Groups: There are at least two people, agencies, or countries struggling to acquire whatever the “magic it” happens to be. For example, in Tinker, Taylor, Soldier, Spy the opposing groups are the British Circus and Moscow Center. In La Femme Nikita the opposing groups are Covert One and Red Cell, while The Bourne Identity pits rival factions within the CIA itself as the opposing groups.
3. The Secret Struggle: For reasons that are inherently logical to the story, the opposing groups need to keep their conflict hidden from the outside world. This is what separates spy fiction from most mysteries, thrillers and legal or police suspense novels. Both the protagonist and the antagonist work from the shadows, employing similar techniques of stealth and deception. In many spy classics, it is often difficult to tell who the “good” and “bad” guys are based purely on what they do. This gray area is one of the elements that make stories like The Gentleman’s Game, Rain Fall and Ronin so compelling. The definitions of right and wrong often boil down to malleable issues of money, ideology, coercion and excitement.

Applying the Elements to My Own Work

The premise of the book I am writing now involves a young spy who is forced to infiltrate an international smuggling ring by seducing the leader of the group. The “Magic It” here is information. The protagonist has to find proof that her lover is tied to arms smuggling. There are two opposing groups; the mercenary spies sent to infiltrate the smugglers and the smugglers themselves. Both groups need to use secrecy and deception, either to illegally ship weapons around the world or get into a position to stop those shipments. By creating a story that satisfies the elements of spy fiction, I can build a stronger narrative that can hopefully appeal to the millions of people who devour this genre every year in books, TV shows and movies.

The Dark Side

While understanding the conventions of any fictional genre can satisfy the expectations of the audience, writers must, at the same time, be very aware of the clichés that are particular to their genre. Avoiding these pitfalls is the difference between creating a classic story and a half-baked mess. Next week, I’ll try to define what the differences are between conventions and clichés and explain how my novel will try to rise above the ordinary.

So what are the elements of your favorite fictional genre? How do your favorite books capture or transcend the conventions of the genre and redefine them? Let me know what you think in the comments...

Have fun.

Gamal